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District Clerk's Office. 

luVth year of the Independence of the United States of 
I the right whereof they claim as Proprietors, in the words 

I -i t;; ifyr,)£*i in to e'fW r£t ^\xtut.'■ , Mark xiv. 26. 

Iment of Learning, by securing the Copies of Maps, Charts 

l?o to an Act entitled, " An act supplementary to an Act r 

I to the Authors and Proprietors of such copies during the 

Riling Historical and other Pr' u." 


r rid of .VassachutttU. 

L ction of Sacred .Music. 

BOSTOX, October 31, 1816. 

" Songs of the Temple, or Bridcewater Collec- 
examination of its pages. For beauty of style r 
le of which they have any knowledge, 
the Pullisbers for its handsome execution. The 
much respect, your obedient servant. 

M. S. PARKER, Secretary. 

i Ssq. president of the Handel and Haydn Society, New -York, to the Publishers 

—ated N?w-York, August %1, 1819. 


HAVING lately examined a Collec 
Collection of Sacred Music," I avail myself of th 
lished in the United States ; and I should be glad t 
interesting part of Christian Worship. 


on of Sacred Music published by you, entitled " Songs of the Temple, or Bridgewater 
means of saying, I consider this Collection as being by far the best I have met with pub- 
find it generally used in our Churches, as a means of fosiering an improved taste for ibis 
/ am, respectfully, your humble servant, 



THE public opinion in favour of former edjions of this work, has'been so fully expressed, by the sale they have met with, that the 
Proprietors now have it in their power to offer thepublic the present enlarged and improved edition. They flatter themselves, that it contains 
a larger collection of approved church or congregjtional Music, than can be found in any one book extant. Besides a very competent number 
of short tunes, in all the variety of measures forasual Sunday service, there is added a selection of Anthems and longer Hymn Tunes, for 
particular occasions. This will render it more siitable and convenient for the practice and improvement of common schools and church 
choirs. A considerable proportion of the music las never before been published in this country, and will therefore have all the effect of 
original compositions. The Proprietors and Comnlers have omitted no pains or exertions in their power, to render the work as perfect in 
all respects, as the nature of the subject will admt. 

A few variations in the harmony have been nade in the present edition ; but if the learned musician should still find many deviations 
from the strict principles of modern harmony, h^ must attribute it principally to a reluctance on the part of the Compilers to change tunes 
from the form in which they have long been presented to the public. More complaints are made of the frequent changing of the harmony, 
than of its incorrectness. There may be found isome errors of the press, which, however, the eye of a master will readily discover, and 
which can easily be corrected with the pen. Perfect typography in a work like this is not to be expected, and is indeed impossible. It is 
hoped, however, and believed, that errors of thil kind are few and not very material. 

Figuring has been added in this edition, which it is hoped may be of some use to the organist ; and as utility has been a leading object, 
the character of the mu6ic, it is believed, will bq found suited to every sober, sacred, and religious purpose, and adapted to the use of public 
worship, among all societies and denominations cf Christians, 


ADAGIO, (or Ado.) slow. 

Afftttuoso, or Con Affttto, tenderly. 

Alia Brtre, an Italian terra for church music of four 
minims in a bar, to be performed quick ; it is usual 
however at the present day, to insert a bar after 
every semibreve or two minims, and the movement 
is denoted by a bar drawn through the Adagio 

Alltgretto, a little brisk. 

AUtjro, (or Alio.) brisk. 

Alltgro ma non troppo, brisk, but not too fast. 

Alio, or Altvu, the contra Tenor. 

Andante, a little slow, or by gentle steps, as in walk- 

Andantinja, a light sort of andante. 
Amoroso, see Affettuoso. 
Anthem, a portion of Scripture set to music. 
Bis, signifies a repeat. 

Canon, a regukr and exact fugue, in either the uni- 
son, fifth, or eiehth. In these pieces one singer 
begins alone, and when he comes either to the end 
of his part, or to a repeat, If written on one staff, 
-a second begins, and then a third in like manner, 
and so of tLe rest. 

Cadtncts, are closes in music, similar in effect, to 
•tops in reading. 

Canlo, or Canlus, the Treble. 

Captlfo, a chapel or church, at Alia Capella, in 
church style. 

Canlabttc, in a graceful and melodious style ; an ex- 
treme cadence made by the principal performer 
i*hil< the Tf*i -top. 

Chorus, full, all the voices. 
Con, as Con Spirilo, with spirit. 
Crescendo, (or Cres.) to swell the sound. 
Con Lamenlo, in a melancholy style. 
E, and, as Moderato e Mcestoso, moderate and mjes- 

Da Capo, (or D. C.) to repeat and conclude ivith 

the first strain. 
Decani and Cantoris, the two sides of a choir 
Diminuendo, to diminish the sound. 
Dolce, sweet and soft. 
Duo, Duetto, for two voices or instruments. 
Del Stgno, (or D. S.) from the sign. 
Fagotto, the Bassoon part. 
Fine, the end of n piece or book. 
ForJe, (or For.) loud. 
Fortissimo, or F. F. very loud. 
Fuga, or Fugue, a piece in which one or moi 

lead, and the rest follow in regular interval) 
Grazioso, gracefully, with taste. 
Grave, the slowest time. 
Larghetto, pretty slow. 
Largo, Lentemente or Lento, very slow. 
Ligature, a slur. 
Mcrsloso, slow, firm, and bold. 
Mnderalo, moderately. 
Moletlo, a kind of Latin Anthem. 
Mezzo, modrnitely, rather, as 

Mezzo Forte, moderately loud. 
Mezzo Piano, rather soft. 
Organo, the Organ part. 
Piano, (or Pia.) softt 

Pianissimo, (or P. P.) very soft. 

Piu, prefixed to another word, increases its force. 

Poco, the contrary of Piu. 

Presto, quick. 

Prestissimo, very quick. 

Prima, the first part. 

Pomposo, in a grand or pompous style. 

Rrrilalive, kind of musical recitation, between speak- 

g and singing. 

irnello, see symphony. 

mdo, the second part. 

A Chorus, half the voices. 

liano, a slow, graceful movement in Compound 

», for a single voice or instrument. 
rano, the Treble. 

rituoso, or Con Spirito, with spirit. 

:cato, very distinct and pointed. 

'o Voce, middling strength of voice. 

aphony, a passage for instruments. 

npo, time ; as, A Tempo, or Tempo Giusto, in 

rue time. 

o, a piece in three parts. 

npo di Marcia, martial time. 

tti, when all join after a solo. 

orough Base, the instrumental Base, with figure? 

or the Organ. 

■se, one voice to a part. 

ace, with life and spirit. 

Iti Subito, turn over quick. 



1 Semibreve, 2 Minims, 4 Crotchets, 8 Quavers, 16 Semiquavers, 32Demisemi. 


1 Flat. 2 Sharp 
H T T 

3 Natural. 4 Dot. 

5 Slur. 

6 Hold. 

7 Repeat. 8 Choice Notes 

9 Figure 3. 
■3 — 

10 Trill. 

il Appogiatura. 

12 Bar. 13 Double Bar. 14 Syncopation. 15 Stoccato Marks. 16 Brace. 

liiliiiliiiiiil ( 

1. A Flat, set before a note, sinks it half a tone. 

2. A Sharp, set before a note, raises it half a tone. 

3. A Natural, restores a note made flat or sharp to its original 

4. A Dot, after a note, adds to it one half of its original length. 

5. A Slur is drawn over or under those notes which are sung to 
one syllable. 

6. The Hold shews that the sound of the note over which it is 
placed may be continued longer than its usual length. 

7. The Repeat shews what part of a tune is to be sung twice, 
and is placed at the beginning and end of the strain to be repeated. - 

8. Choice Notes give the performer liberty to sing which he 

9. The Figure 3, over or under three notes, directs that" they be 
performed in the time of two of the same kind. '* • 

10. The Trill, shews that the note over which it is placed" should . 
be shaken. . ' . 

11. The Appogiaturas are small notes, which divide the time of 
the principal note, unless it be followed by a point or rest, and then 
they take the whole time of the principal note, and that takfcs the; 
time of the point or rest only. 

12. A. Bar divides the tune into equal parts, according to its mea- - 
sure note. " 

13. Double Bars shew the end of a strain. 

1 4. Syncopation, or Driving Note, is when a note begins on file 
weak and ends on the strong part of the measure. 

15. Notes having Stoccato Marks, should be performed distinctly; 
and when dots are used instead of marks, the performance should be 
soft and distinct. 

16. The Brace connects those parts of a tune which move to- 


MUSIC is written on th e parallel lines, and their four interme- 
diate spaces, and are called a Staff, making nine Degrees or places for 
the heads of the notes, which are counted upwards. When more de- 

grees are necessary, the spaces ahove and below the staff, and also 
short or Leger lines are used, and thus the number of degrees may 
be increased at pleasure. 



( Sth 

1 -iih 

< 3d 

/ 2d 

v i»t — e 

_Zj p © 3 ^ ^ - I_^b I 


5 6 


12 3 4 
There are but seven original sounds, called the Scale, which may 
be repeated upwards or downwards at pleasure, but every series will 
be the same as the first, differing only in the pitch, being one eighth 
more acute or grave, that is, higher or lower. To these sounds the 
seven first letters of the Alphabet are applied, and also certain sylla- 
bles, instead of words, to aid the learner in singing them. There is 
also prefixed to each Staff a certain character called a Clef, which 
represents one of the letters of the scale and its corresponding sound, 
and thai shein the application of the scale to the staff. There are 
'••it tiro Cfefil nacd in thii vrork ; which are the F and G Clefs. The 

F Clef is confined to the Base ; and is placed on the fourth line. The 
G Clef is used in all the upper parts, and is placed on the second 

line. Another Clef, formed thus 

called the C Clef, was 

formerh/ used for the Counter and Tenor parts, and sometimes for 
all the upper parts, and was moveable at pleasure to any line in the 
staff; but this Clef is now very generally rejected as unnecessary. — 
The Counter and Tenor parts are designed for male, and the Treble 
for female voices. This being understood, different Clefs arc un- 

1st Octave 

2d Octave. 3d Octave. 


BASE. ^ ^ ^ j£ 

C D E F G A B 
fa sol la fa sol la mi 

c d e f gab 
fa sol la fa sol la mi 

fa sol la fa sol la mi 

c d e / g a b C&c. 
fa sol Id fa sol la mi fa. 

The second octave in the Base, and the first in the Counter and 
Tenor are in unison ; and the third in the Base, the second in the 
Counter and Tenor, and the first in the Treble, are also in unison ; 
and should all the four octaves, and as many more as could be con- 
ceived, be sounded at once, they would be in perfect concord. Al- 
though the second line, being the Clef line, in both the upper parts, 
is G ; yet it is to be observed, that the Treble is an octave higher 
than the Counter and Tenor. The parts here are placed in their 
natural order ; but the Treble, which is the Air or principal melody, 
is generally written next to the Base, for the accommodation of or- 
ganists ; it being most convenient for them, that the Air and Base 
should stand together. 

In applying syllables to the seven sounds, which is called Solfeggio, 
or Sohnisation, nations differ. Thug English use 

C. D. E. F. G. A. B. 
fa. sol. la. fa. sol. la. mi. 
The French use ut. re. mi. fa. sol. la. si. 
The Italians use do. re. mi. fa. sol. la. si. 
others have used da. me. ni. po. tu. Ia. be. 

The sound of a in- fa and la is broad, and i in mi has ihe sound of 
e. The scale consists of five tones and two half tones or semitones, 
and when the five tones are divided by sharps or flats, it will consist 
of twelve semitones. 


Ascending by Sharps. 

Descending by Flats. 

c L * D K F F.* G G# A A# B C B B& A A& G G& F K E& D pfc T 

1 2 3 4 5 6 7 8 9 10 H 12 (13) 12 34 56 7 8 9 10 11 12 

Ascending by Flats. 

Descending by Sharps. 

l-ij j j j j »j .^^md ^k^ &uj j mi s 

! P-^ E& F.£ F G& Afe B^. 

B A* A$ G-# G-^ F* F$ E D# D-^ C# 

In ascending by flats or descending by sharps it is necessary after 
every flat or sharp, to insert a natural, otherwise the sharp or flat 
would continue its effect, and the half tone would not be produced. 
Two of these arc called natural semitones, as between E and F and 
B aud C, and all the other ten are called artificial, as being changed 
by sharps or flats from their nutund state. The natural semitones are 
■onetuntea called diatonic, and the artificial ones chromatic, in refer- 
ence to the ancient Grecian scales. 

it may be proper to observe that any two of the five whole tones, 
vpurated by an interval of one degree only, as from C to D— D to 
E — F to G — G 'o A and A to \> will be brought together, to all prac- 
tlcA purpose*, either w hen wag or struck on keyed instruments, if 

the upper note of the interval be flatted and the lower one sharped ; 
that is, C* and Db, for instance, are the same in sound, although 
they stand on different degrees in the scale ; and so it is with the 
other four. 

When one octave is taken by itself, and the first note is repeated, 
that is^ when it extends from C to C inclusive, and each is counted, 
there will be" thirteen semitones or sounds, which has led some writer? 
to say, that the scale consisted of thirteen semitones. This is incor- 
rect, for there are but twelve distinct sounds, or intervals, and each 
i of these may become a tonic, pitch, or key ; and there can be nd_ 
more to any practical purpose. 

THE Scale may be theoretically divided into smaller intervals, called quarter tones, thus :— 


C# Db D-^ D# E£ E# 

F* G& G-^ G# A& A$ A* B& B-^- B# 

This is altogether an imaginary division of the scale in modern 
music, as the quarter tones cannot be struck on keyed instruments ; 
and it arises from writing one and the same key as the sharp of the 
key below, or as the flat of the key above, that is, making, for in- 
stance, a theoretic difference of nearly a quarter tone between G* and 
Ab, or C* and Db, which to all practical purposes are really the 
same. — This is called, in reference to the Grecian scales, the Enhar- 
monic, as that by semi-tones is called the Chromatic, division. These 
names and distinctions, however, have but little use or applicability 
in modern music. 

r There are two modes in Music, the Major, and Minor. In the 
Major mode the tonic or Key note is the first above mi, and proceeds 

upwards with three full tones, as C D E in the above examples 

fa. sol. la. 

which gives a Major third, whence its name arises. In the Minor 
mode the tonic, or Key note, is the first below mi, and proceeds 
upwards with two tones and a semi-tone, making a Minor third, as 
ABC (from B to C being a semi-tone,) whence also its name 

la. mi. fa. 

arises. In the Base of every tune a perfect close is in one or the 
other of these tonics, which will determine the mode. If it be the 
first above mi, that is, fa, it is in the Major ; if the first below mi, 
that is, la, it is in the Minor mode. This is given as a rule for a 
beginner, but the air of the tune will immediately discover the mode 
to a proficient. In the Minor mode the sixth and seventh ascending 
must be sharped, but not in descending ; thus, 


, — HM> 2 

* 1 


— — <■ 

























This peculiarity, or alteration of the 6th and 7th, from their nat- 
ural state, is the occasion of its having been denominated by some an 
artificial scale. The ancients had no knowledge of (they certainly 
made no use of) the Major mode. The application of the letters, 
which was fit-st made by them, shews at least that their scale was in 
the Minor mode, and all their music was plaintive. The two sharps 
in ascending was a later refinement. 

It has already been stated that the Key, pitch, or tonic, may be 
elevated or depressed by sharps and flats to any of the twelve semi- 
tones in the scale. This may be done by fiats or sharps placed at the 
beginning of the Tune on such lines or spaces as are necessary to 
bring the tones and semi-tones into their relative and proper order, 
required by the alteration intended. For to whatever space or line 
in the stafl" the pitch ■ removed, the seven sounds must retain the 
s.i me relative order, us in their natural state. These flats or sharps 
at the beginning of the staff are called, the Signature ; when there 
are none pLced there, it is a sign or Signature of the natural Key, and 
mi is in 15 ; but 

If B be Flat 
ff B and E 

Mi is in 

Mi is in 


U B, E and A ( 
JF B, E, A and D ) 

And having thus found Mi, the notes above are fa, sol, la, fa, sol, 

U. and then comes Mi again — and below are la, sol, fa, la, sol, fa, 

and then comes Mi again ; as the foregoing examples will shew. 

If F be sharp 
If F and C 
If F, C and G 
If F, C, G and D 

Sometimes in the course of a tune the Key or tonic will be changed 
by flats or sharps occasionally inserted and restored again by naturals. 
These incidental sharps or flats, as also naturals, when they are in- 
tended to remove the effects of sharps or flats in the Signature, are 
always indicative of a change of Key, excepting when sharps or 
naturals are used on the 6th and 7th of the Minor mode ; in which 
case they are said to be the sign of that mode ; but incidental flat9 
always produce a change of Key. All these incidental changes from 
the Key established by the Signature are called Modulation. 

The seven sounds have also distinct names from their situation and 
effect in the scale. The Key note is called the Tonic, the next above, 
or its second, the Supertonic, — its third, the Mediant, — its fourth, 
the Subdominant, — its fifth, the Dominant, — its sixth, the Submediant, 
— its seventh, the leading note. 

Touic. Supertonic. Mediant. Subdominanl. Dominant. Subincdiant. Leading note. 

The Tonic is so called from its being the principal Tone or pitch 
of the tunc. 

The Sujicrtonic is so called from its being the next note above the 

The Mediant is so called from its being in the middle way between 
the Tonic and Dominant. 


The Subdominant is so called from its being- the fifth below the 
Tonic, as the Dominant is the fifth above. 

The Dominant is so called from its being a principal note, and re- 
quires the Tonic generally to be heard after it, especially at a close, 
and is therefore said to govern it. 

The Submediant is so called from its being in the middle way be- 
tween the tonic and its fifth below. 

The Leading Note is so called from its leading naturally to the 
Tonic, and is the sharp seventh of the scale, and therefore in the 
Minor mode is necessarily sharped in ascending. 

There are also fourteen intervals in the scale bearing distinct 
names ; viz. Unison, Minor second, Major second, Minor third, Major 
third, perfect fourth, sharp fourth, flat fifth, perfect fifth, Minor sixth, 
Major sixth, Minor seventh, Major seventh, Octave. 

, ® -©- ©- -©- 

Unison. Minor second. Major second. Minor third. Major third. Perfect fourth. Sharp fourth. Flat fifth. Perfect fifth. Minor sixth. Major sixth. Minor seventh. Major seventh. Octave. 

As the scale admits of only 12 semitones, so an Octave although by 
counting the first and last note, which are octaves to each other, and 
really one and the same sound in effect, it contains 13 sounds, yet it 
has but 12 intervals; because the Unison cannot properly be called 
an interval, and the sharp fourth and flat fifth, although necessarily 
distinguished in harmony, are performed on keyed instruments with 
the same keys, and make but one interval. 

When any one of these intervals is subtracted from 9, or when the 
lower note is placed an Octave higher, or the upper one an Octave 
lower, its inversion will be produced Thus unison or one subtracted 
from 9 leaves 8, its inversion ; a second from 9, leaves 7, its inversion; 
a third, from 9, leaves a 6th, its inversion ; and so on. Also place 
the unison an Octave higher and it will be an 8th— place the lower 

note of the second an Octave higher, and it will be a seventh, or plaGe 
the upper note an Octave lower, and it will be a 7fh, and so on. 

There are other intervals produced by sharps or flats, or both, 
which are called extremes, namely, the extreme or chromatic semi- 
tone, the extreme sharp 2d, the extreme flat 3d, the extreme flat 4th, the 
extreme sharp 5th, the extreme sharp 6th, the extreme flat 7th, and the 
extreme flat 8th. — These all arise from the five additional intervals 
made by the semitonic division of the scale. These are principally 
theoretic distinctions, as on keyed instruments the extreme sharp 
second, is the same as the minor third ; and the extreme flat third, the 
same as a tone, containing only two degrees, and the most of the rest- 
correspond to other nafia-al interval*. 


There are three kinds of time, viz. Common, Triple, and Com- 

COMMON TIME has four characters. 

First. Second. Third. Fourth. 

The first is the slowest, containing four crotchets in a bar. It has 
four beats, two down, and two up ; and is performed in four seconds. 

The second is beat as the first, but one fourth faster. 9 

The third has two beats in a bar, one down and one up, and is 
performed in two seconds. 

The fourth is beat as the third, but performed one fourth faster, 
(t^- In all, the accent falls on the first and third parts of the bar. 

TRIPLE TIME has three characters. 

First. Second. Third. 

=1= iim eIIee 

The first has three minims in a bar, each minim sounded in a 
second of time ; and is performed with three beats to a bar, the two 
first with the hand down, and the last with it up. 

The second has three crotchets in a bar ; the time measured as in 
the first, hut performed one fourth faster. 

The third has three quavers in the bar; the time measured as in 
the other*, but performed one fourth faster than the second, (r^r In 
Triple Time, the accent fall* principally on the first, and faintly on 
the third part of the bnr 


COMPOUND TIME has two characters. 

First. Second. 

The first contains six crotchets in a bar ; three sung with the hand 
down, and three with it up, in the time of two seconds. It is accented 
on the first part of the bar. 

The second has six quavers in a bar ; performed like the first, but 
one fourth faster, and accented in the same manner. . 

Where figures are employed as characters to express the Time, 
they are to be understood as denoting the fractional parts of a semi- 
breve that are contained in each bar ; as three halves, is three minims ; 
three fourths, is three crotchets ; three eighths, is three quavers ; six 
fourths, is six crotchets ; six eighths, is six quavers, the upper figure 
denoting the number, and the lower one the kind, of notes, which are 
necessary to fill the bar. Other similar characters, as f , f , VS V s i 
are sometimes used ; but generally in instrumental music. 

The proportions here given to the different species of time are 
not to be found in many of the best European treatises ; but are such 
as have been generally observed in this country, and are well enough 
for general regulations. But all the species in each kind of time 
are really the same, and may, aid ought to be, performed, slower or 
faster, according to the sentiment to be expressed. 


THE early Christians Lad a propensity to singing Psalms, Hymns, 
and Spiritual Songs, as the New Testament teaches us; and Lucien, 
and Pliny the youtiger, hear their testimony to the same fact It 
does not appear, however, what their music was. They were pro- 
bably compelled to adopt the music of the times, and perhaps pagan 
hymns. Origen said, • we sing hymns to none but the Supreme 
Being, and to his only Son, in the same manner as the pagans sing 
to the sun, moon, stars, and all the heavenly hosts." Christianity 
became the established religion in the year 312, and in the time of 
Const, uaine. chants were first established. That of Ambrose, called 
the Ambrotian chant, was first introduced, by which the Psalms were 
chanted after the Eastern mr.nner, till about the year GOO, when St. 
Gregory reformed it, and established, what was afterwards called 
the Gregorian chant. This plain chant, or canto fermo, adapted to 
prose only, was distinguished from the canto fgurato, or florid song, 
to which verse and rhymes were sung, and which was banished from 
the church, as being too lively and paganish : hence Psalmody de- 
generated into plain monotonous song, or chant. This was a single 
part, in which most of the notes were on one and the same line or 
degree, in which all the voices united ; but in time, dwphonia, orga- 
num, Jucant. counterpoint, or faburden, (all which terms mean the 
same thing, namely, music in parts, or harmony, in contradistinction 
to plain chant, or single melody,) began to take place. This at first 
was only singing the plain song a fifth, fourth, or eighth higher or 
lower. At length they began to vary some of the tones from con- 
stant coasecutive fourths, fifths, or eighths, to some other concordant 
tone, as to a third or sixth. Thus they proceeded from one step to 
another, till at length they built all kinds of Jlorid counterpoint, or 
harmony on these plain songs or chants. These additional parts 
were at first extemporaneous, and not written ; but finally written 
counterpoint or harmony took place, and gave rise to all the arts of 
cwnon, fugue, imitation, inversion, augmentation and diminution. But 

while the artists and professors were exercising their skill on these 
different superadded parts in florid counterpoint, the congregation 
were singing only the plain chant and well known song. This hold- 
ing on in the plain song, is what has given the name of Tenor to the 
principal melody ; which, in modern times, however, is generally 
called the Treble. The mode of performance was generally by way 
of question and answer, by different choirs, or different parts of the 
same choir. This mode of singing, together with such licentious 
accompaniments, it is easily conceived, would almost totally obscure 
the plain tune or melody, and lead to the greatest confusion. And 
hence we are told that it gave great offence to the first reformers. 
They admitted u the people to join with one voice in a plain tune," 
but nothing more. In 1586, the} r prayed Parliament, " that all cathed- 
ral churches might be put down, where the service of God was grievously 
abused by singing, ringing, and t fowling of Psalms from one side of the 
clioir to the other?'' This reproof would but too well apply to the 
" light, fi-guing, and ballad-like" kind of music, which has heretofore 
overrun our country, but is now giving way to a better taste, and a 
more sober and devotional kind of psalmody. 

Metrical or Parochial Psalmody in slow notes of equal length had 
its origin in Germany, and was thence spread by reformers into other 
parts of Europe. Clement Marot, in France, translated 30 of the 
Psalms in 1540, into French verse, which were sung to the tunes of 
the most favorite songs of the times. He soon after fled from perse- 
cution to Geneva, where he versified 20 more. The whole 50 were 
printed at Geneva in 1513, with a preface by Calvin himself. Marot 
dying the next year, Theodore Beza versified the rest, and the whole 
150 were published at Strasburgh ia 1545 with single melodies, which 
are still extant, and in possession of the compilers of this work. 
These Tunes or melodies, were said to be composed by one William 
Franc. In all these there are but three tunes, which are now used,, 
namely, Old Hundred, Old 50th, or Landuff, and the 40tu Psalm, in 



this collection. It is upon these single melodies, that most of the able 
harmonists have laboured in constructing parts. Claude Le Jeune 
first harmonized Old 100, which is here inserted, page 267. These 
Psalms of Marot and Beza began afterwards in 1549, to be translated 
into English Metre, when Thomas Sternhold's 51 Psalms were pub- 
lished. The entire version by Sternhold and Hopkins, and others, 
was not published, however, till 1562, with the simple melodies in 
one part only, which are chiefly German Tunes. These were again 
published in 1594, and fully harmonized in four parts, by John Dow- 
land, E. Blanks, E. Hooper, J. Farmer, R. Allison, G. Kirby, W. Cob- 
bold, E. Johnson, and G. Farnaby. But the most complete publica- 
tion of Psalm Tunes in four parts, which perhaps ever appeared in 
England, was that of Thomas Ravenscroft. now in the possession of 
the compilers, in small octavo, in 1621, containing a melody for each 
of the Psalms, many of them by the editor himself. Many of these 
melodies are still in use. The three added parts were composed by 
21 English musicians, among whom were Tullis, Dowland, Morley, 
Bennet, Stubbs, Farnaby, and John Milton, father of the Poet. Dr. 
Dowland harmonized Old 100, but Ravenscroft ranks the melody 
among the old French tunes. This publication informs u8 who com- 
posed the parts to old melodies, and who added new ones, and is 
therefore in some measure historical. A great number of other 
smaller publications were made, but all becoming scarce, honest John 
Playford, about 1560, furnished the lovers of Psalmody with the whole 
book of Psalms and Hymns in three parts, which being printed in a 
pocket volume, at a very reasonable price, encouraged and excited a 
passion for this species of music, throughout Great Britain, equal to 
that of the Calvinists and other Protestants on the continent. This 
publication was used nearly 100 year3 without any alteration; the 
only two tunes introduced into general use during that time, being St. 
Michael's and Easter Hymn, and these perhaps by a kind of necessity 
on account of their peculiar metres. These old Tunes have since, 

many of them at least, been a thousand times published in England 
and this country, and almost as often varied in some particulars, as it 
respects harmony or the number of parts. The complaints, there- 
fore, which are often made of the alteration of the old Tunes, are un- 
founded, and only expose the ignorance of those who make them. No- 
one can say, which is the original. Probably the oldest Tunes now 
in use, like Old 100, were originally composed without parts, and 
have been harmonized many different ways, as that of Old 100 by 
Claude Le Jeune will show. When the English books containing 
these Tunes were first brought to this Country, as Tansur, Williams, 
Knapp, J. Arnold, &c. who were by no means, musicians of the first 
class in England, they were evidently, set or harmonized, as Tansur 
professes, in the most simple manner ; containing principally the com- 
mon chords, without any regard to the modern rule* of relation and 
progression. If any complaint, therefore, of the alteration of these 
old tunes is well founded, it lies as well against these authors, from 
whom we first learnt them in this country, as against those, who are 
endeavouring to render them conformable to the modern rules of 
harmony. — Late English publications present them with very different 
harmony from the former ones, and different from each other. Many 
of them, however, are still retained in this publication with the same 
dress and accompaniment in which they have been most accustomed' 
to be seen in this country; and although not strictly agreeable, in. 
many instances to the present rules of counterpoint, yet, having be- 
come familiar to us, more injury than benefit would probably result 
from any supposed alterations of them whatever. Plain common 
chords were exclusively used in ancient church music, and applied, 
without regard to connexion, to six of the seven different notes in the 
scale; and it is doubtful if it has gained much by the modern doctrine 
of relation. Palestrina in his famous stabct mater, as well as other 
celebrated authors, used perfect chords of the s;;me kind diatonicallv, 
and every note in the scale except the 7th, as a fundamental base, 



And Dr. Barney, from whom most of this account is derived, says. 
u the modulation was so qualified by the disposition of the parts, that 
though it looked unscientific and licentious on paper, its effects, of 
■xkick no idea can be acquired from keyed instruments, were admirable.'* 
He further savs, that u this disregard of relation, is doubtless the true 
secret of ancient church music, and the principal cause of its effects so 
widely different from that of modern compositions : an effect, com- 
pounded of solemnity. wildness. and melancholy.*' 

If those, who complain of the alterations of the old Tunes, will take 
the trouble to examine the latent English Collections of Psalmody, 
thev will find many of their favorite old Tunes, as St. Martin's. Col- 
chester, .ill Saints, and others, so much changed, not merely in harmo- 
ny, but sometimes in the melodies themselves, that they will scarcely 
be able to recognize them. The compilers of this work have not. for 
reasons already mentioned, adopted these alterations but in a few 
instance-: and those, where the change was not great, and where 
the good effects were believed to be important. 

In the following work, the air or principal melody is universally 
placed next above the Base, to accommodate those who perform on 
organs, or other keyed instruments. The natural order is to place 
the air or Treble at the top. and the other parts in order downwards, 
as Counter. Tenor an! Ra^. It has however for a long time been 
cu«toroary to place the parts as we have here arranged them, and is 
perlnpi the most convenient, for the reasons above mentioned. — 
Females should, however, generally sing the air or principal melody, 

otherwise the harmony will often be destroyed, or at least it will not 

have its intended and proper effect Singers should also be informed, 
that where a piece is set for one, two or three voices, and contains 
such directions, only the number of voices prescribed should be em- 
ployed in the performance. Such directions are generally misunder- 
stood, and instead of one person only on each part, all the singers on 
the parts mentioned unite, which is altogether wrong in practice, and 
should be corrected. When three voices, for instance, are directed 
to perform a piece, three persons are intended, and not three parts ; 
one person only on each part is meant. After such directions, they 
will generally find the word Tutti, or Chorus, used, which indicates 
that the whole choir is again to unite. And generally where Tutti, 
or Chorus occurs, it is understood that the previous strain should be 
performed by one voice on each part, whether such directions are 
expressly given or not This rule, however, is not absolute, but is 
generally proper, and in some instances essential. 

The Compilers have thought it unnecessary to enlarge on the Ru- 
diments of Music in a school-book like the present, as a master will 
be able to supply all that is wanting, and even more than could be 
well inserted in a collection of music for general use. It is hoped the 
additional rules in this edition will be found amply sufficient for begin- 
ners. Those who wish to perfect themselves in the rules of music, 
must not expect to find sufficient instruction in a mere collection of 
music for public worship, but must have recourse to grammars, and 
other professed works of instruction. 

ARLINGTON. C. M. Dr. Arne. 





c. y\. 


Bleat is l!.e man who shuns the place, Where sinners love to rrect, Who fears to tread their tricked \va\s, And hales ihe sc ffer's seat. 

6 6 5 6 



C. M. 

V. / do we mourn departing friends, Or shake at death's alarms i 'Tis but the voice that Jesus, To call them to his arms. 

— P-4-o 

-P-t-^-i — T"P"«"T"n"P t"^"i — n 

c T c 

20 DURHAM. C. M. H. PurceU. 

•■ who's the happy man that mav, i'o ^ thy blesi courts repair, And while he bows before thy throne, Shall find acceptance ^there" 



Dr. Green. 





God, I cry with ev'ry breath, For some kind power to save, To break the yoke of sin and death. And thus redeem the slave. 




6 7 * 


# 7 5 6 6 •#• 
6 4 

6 7 # 




let our lips, with holy fear, And mournful pleasure, sing The sufferings of otir great High Priest, The sorrows of our King. 
. e _Zf^ _ 3 . _ _ 

6 # 6 



6 * 



30 St. MATTHEW'S. C. M. Dr. Croft. 

Let Leaven arise. Let e^rth appear, Said the Almighty Lord, The heavens arose, the earth appeal 'd, At his creating word. 

Thick darkness brooded o'er the deep; God said, let there be light; The light shone round with smiling rav, And scatter' d ancient night. 

5 •# 6 ■. *> & C) *5 # C C •*■ 6 6 b I 

6 « *.J & 







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Lies mingled, 



How long shall deaih the tyrant reign, And triumph o'er the just, While the rich biood of martyrs slain Lies mingled, Lies mingled with the dust. 

^ — It ~- 

6 6 5 6-7. 6 . r > 
4 4 3 

6 7 6 5 
4 o 

' " "6 6 6 . _ T 6 5 

Organ. Voice. 4- o 


Lo faith beholds the scatter'd shades, The dawn of heaven appears, And the bright morning gently spreads Its blushes, Its blushes, Its blushes round the spheres. 

5 6 5 7-5 

^ ^~ P ^ 6 6 6 665 ^ Organ.^ ^ ^ ^ Yo^e. 6 6 5 ^ 

4 4 4 o 

Voice. 6 6 5 
4 J 

CAROLINA. C. M. Coombs. 4» 

2 4 43 3* 45 4* 4 4* 




C. M. 


I know thai mv Kedeemer lives. And ever pravs for me ; Salvation to liis saints he gives, And life and lib - er - tv. 

%i 5 

5 " ^ 7* " ^5 "^"^""Pe ^ ^67 5 56 5 6* 65 8 7 ^ 

:s4 # * 4.3 


C. M. 

T. Jackson. 




The dear delights we he-re cn - joy. And call our own in vain, Are but short favours borrow'd now, To be repaid again. 

6 |'|==: 6 6 % l 6 

W V4 8 

6 6 6 6 5 


St. DAVID's. 

C. M. 


--i — t T---Q- 


Arise, O King of grace, arise, And enter to thy rest ; Lo ! thy church waits with longing eyes, Thus to he own'd and blest. 

6 5 6 



How shall the young secure their hearts, And guard their lives from sin ; Thy word the choicest rules imparts, To keep the conscience clean. 

* 6 # * •#• 6 # 6 6 # # 6 6 6 5 

4 * 

53 PEMBROKE. C. M. Dalmer. 

PENUOSE. C. M. . Tucker. 55 

Thee we adore, Eternal Name, And humbly own to thee, How feeble is our mortal frame, What dying worms are we. 


Hark ! how the feather'd warblers sing, 'Tis nature's cheerful voice, 'Tis nature's cheerful voice, Soft music hails the lovely 

6 ! 

6 I I 


Soft music hails the lovely spring, And wOods and fields re - joice. 

spring, And woods and fields rejoice. 

music hails the lovely spring, 5 6 6 *6 6 6 6 , £ 





C. M. 


Now to thy heavenly Father's praise, My heart, thy tribute bring"; That goodness which prolongs my days, With grateful pleasure sing. 

-.--- T -= (3- 



6 6 7 
4 5 

6 5 


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6 6 6 6 






Awake, my soul, stretch every nerve, And press with \igour~on ; " A heavenly race demands th'y zeal, And an immortal crown. "^A.nd an immortal crown. 


6 7 — 



& 5 6 5 65 66 67 
4 3 4 3 43 4 5 





- i ft vr r ri i* ' * i ' - 1 - 1 — .— 

O God, my Father, 

a - (lore That all com - mand - mg name : It will my soul to 

J r r i frr T fl r i»i ^ 

6 6 

6 6 



life re 

store, And kindle all my 

— _ — » — t J — e 

flame. And kin 


all my flame. 


6 6 5 6 6 .6 7 Voice. 6 5 



C. M. 

M. P. King. 

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19- J 


• 1 V 

As pants the hait for cooling streams, When heated in the chase, So longs my soul, O God, for thee, And thy re - fresh-ing grace. 

.5 6 5 

6 7 |* 

6 5 6 6 5 
4 3 



Thro' all the changing scenes of life, In trouble and in joy; The praises of my God shall still My heart and tongue employ. 

"fi ' G 6 C 6 1> 6 57 

TISBURY. C. M. Husband. 65 

There is a land of pure delight, Where saints im - mor-tal reign ; In - fi - nite day ex - eludes the night, In- 


68 STADE. C. M. Burney. 

With pity - ing eyes, the Prince of grace ' Beheld our helpless grief : He saw, and (O a • maz-ing love !) 

He came to our re - lief. Halle - lujati, Halle ■ lujah, Halle - lujah, A - men. 





Father, how wide thy glories shine, How high thy wonders rise ! Known thro' the earth by thousand signs, By thousands thro' the skies. By thousands, thousands — 

66 665665 67 

4 4 4 3 4 5 

2 2 


6 6 5 6 6 6 5 
4 3 # 

C. M. 

5 By thousands thro' the skies. 
3 6 6 7 


Dr. Burney. 

He is a God of sovereign love, That promis'd heav'n to me, And taught my soul to soar above, Where happy, where happy, where happy spirits be. 

4 ~5 6 ^6*" P 6^ 6 5^ * 6 ^ #6 " 6> ~"^G 


6 5 
4 * 

6 6 6 5 
4 4 3 

6 6 6 5 

4 # 

70 ARNOLD'S. C. M. 



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43 4 43 45 

7 i 6 6 5 6 6 

4 3 



God of our "mercy and our praise, Thy glory ^ is our song ; We'll speak the hone 

God of our mercy and our praise, Thy glory is our song ; We'll speak the honours of thy grace, With a re - joic - ing tongue. 

^ *" *~ ^ ^~6 5 ^ ^ "~" 6 6 5~ *~ _r ~ 6 6 ^ 7^ ^ -5^ ^ 05 6 6 ^ G~ 7 S * 

43 4 3 4 3 43 4 5- 



That once lov'd form, now cold and dead, Each mournful thought employs, And nature weeps, her comforts dead, And wither'd all her joys. 

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6 6*6 

6 -&6 

6-^6 0, 6 5 
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£ 1 f_J.| 

When God reveal'd his gracious name, Andchang'd my mournful state, My rapture seem'd a pleasing dream, The grace appear'd so great. The grace, &c. 


6 7 

6 5 
4 3 

6 5 
4 3 

4 * 


6 65 

-5- 6 7 


Now let our mournful songs record The dying sorrows of our Lord, When he complain'd in tears and blood, As one forsaken of his God. 


6 I 3 5 

6 # 

#6 #6 6 ft 


Come bitlier, all ye weary souls, Ye heavy laden sinners, come ; I'll give you rest from all your toils, And raise you to my heavenly home. 




No more fa. - tigue, no more dis - tress, Nor sin nor death shall reacli the place, No groans shall mingle with the songs, 

6 6 6 

Which warble 

from im 

mor - tal tongues. Which war - blc from im 

mor - tal tongues. 


I 3 

i I 


L. M. 




tes 1 raise, Approve the song, and join the praise. 

Willi all my powers of heart and tongue, I'll praise my Maker in my song : Angels shall hear the notes 1 raise, Approve the song, and join the praise. 

.3E_ l 

4 5 43 * 4 3 

76 t?6 

L. M. 

6 6 

Dr. Croft. 

1 OJ 

O 1 1 

^. r a-t 

Life is the time to serve the Lord, The time t'insure the great reward ; And while the lamp holds out to burn, The vilest sinner may re • turn. 

% 3 5 

6 5 

6 6 

8 7 

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Father of all, omniscient Mind, Thy wisdom who can comprehend ? 

Its highest point what eye can find, Or to its 

* 4 6 i 

6 h 

4 tr 

jpr.— ,7i 


depths descend 

Its highest point, what eye can find, Or to its lowest 

depths descend ! 

4tj -k* 

6 5 

SPRING. L. M. Dalmer. 89 

infant year From wint'ry storms recovei'd rise, When thousand grateful scenes appear, When thousand, &c. Fresh op'ningto our wond'ling eyes. 

* 4 7 






O could I 

soar to worlds a 


The blest a 

bode of peace and love, 

(7 5 
65 3 






L_u — L~ 

r i ■ 

would I 

mount and 



wings to joys on high. 



6 -5- 


87 5 

65 3 

MAGDALEN. L. M. Tallis. 97 




No bleeding bird, nor bleeding beast, Nor hyssop branch, nor sprinkling priest, Nor running brook, nor flood nor sea, Can wash the dismal stain away. 

6 J, 6 6 6 5 # 65665 65 567 6 5 ..66 #6 665 5 

4 * 


6 5 6 6 5 
4 3 

6 5 56 7 65 6 6 #6 
4# #4 

6 65 5 
44 # 

L. M. 


Incumbent on the bending sky, The Lord descended from on high, And bade the darkness of the pole, Ueneath his feet tremendous roll. 

6— 6 5 6 #6 6 * * e " 6 6 5 6 6 ^ *~ 6~ ^ 6 J '^5 7 _ 


10* PALEY. L. M. 


Shepherd, let me know, Where do thy sweetest pastures grow. Where do thy sweetest pastures grow. 

P1LESGR0VB. L. M. 105 


St. GEORGE. L. M. 

Stanley. 107 

God of my life, through alt its days, My grateful tongue shall sound thy praise, The song shall wake with ^awning light, And warble to the silent night. 



6 6 6 #6 

6 #6 6 66 ^ 

6 6 5 6 6 65 
4 3 


6 6 7 





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Blest be the Father and his love, To whose celestial source we owe Rivers of endless joys above, And rills of comfort, And rills of comfort here below. 
M—tOj-tj; t — ■ — !t r ~f~ t — -i-P-P — T ~ — t It— ■— t i—i-i-iT©;. 

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Dr. Madan. 

—4* HE * r r ft _._(» ft 

r ft- , 

Awake, my soul, to Iiymns of praise, To God the song of triumph raise ; Adorn'd with majes- 

6 6 

6 -6- 

65 76 
43 54 

6 # 


ty di - vine, What pomp, what 

glory, Lord, are thine ! "What pomp, what g'-ory, Lord, are thine ! 

6 #6 

6 5 
4 3 

6 5 
4 3 



Now to the Lord, a noble song, Awake, my soul, awake, my tongue, Hosanna to th'Eter - nal Name, And all his boundless love proclaim. 

6 -5- 6 

6 tj 6 57 65 

6 6 7 6 7 


With all my pow'rs of heart and tongue, I'll praise my Maker in my song, Angels shall hear the notes I raise, Approve t 


4 # 


Dr. Greeu. 


^ q ^ ^ zj ' — j — j j^ 

Sweet is the work, my God, my King, To praise thy name, give thanks and sing, To show thy love by morning light, And talk of all thy truth at night. 



5 6 

6 6 5 

6 5 


O Lord my God, in mercy turn, In mercy hear a sinner mourn : To thee 1 call, to thee I cry, O leave me, leave me not to die 


* 6**6* 7* 

"^6^~ 6 



* — - 

6 f "I 





L .M. 


Hold raj (1. 

Sing to the Lord, who loud proclaims His various and his saving names i " O m^y they not be heard aio^e," But by our suie experience known. 




6 5 


L. M. 




Darknes and clouds ot awful shade His dazzling glory shroud in state, Justice and truth his guards are made, And fix'd by his pavilion, wait. 

-tQ^P— 1-T , 

4tj 4> a 3 4> 

87 5 C5 


6 6 6 € 




T ^ 1 


I will. 

bless thee all my 


Thy praise shall dwell up 

on my 

tongue, „ 


6 6 6 6 ^ 6 5 -5- 


to hear the song. 

My soul shall 


in thy grace, 

And saints re 



6 5 65 6 6 





O what a - mazing joys they feel, While to their golden harps they sing, And sit on 

ev' - ry 

6 6 6 5 
4 3 

6 6 

65 43 

heav'n • ly hill, And sit on ev' - ry beav'nly hill, And sing the triumphs of their King. 


6 65 


XrTTT3T7M f 

2d Treble. 



— & 

How transient is the life of man 


At most, a brief con - tract - ed span ; 

6 7 6 

6 . 

6 7 
* I 





1 1 r 

p f* 

It blooms, it fades, and serves to show, How vain, bow frail, «re things be - low. 



• :: 


5 6 6 4 


5 6 — 

fcr 4 

6 6 ^6 ^ 6 

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